Après un rêve Dans un sommeil que charmait ton image Je rêvais le bonheur, ardent mirage; Tes yeux étaient plus doux, ta voix pure et sonore Tu rayonnais comme un ciel éclairé par l'aurore; Tu m'appelais, et je quittais la terre Pour m'enfuir avec toi vers la lumière; Les cieux pour nous entr'ouvraient leurs nues; Splendeurs inconnues, lueurs divines entrevues... Hélas, hélas, triste réveil des songes! Je t'apelle, ô nuit, rends-moi tes mensonges; Reviens, reviens radieuse Reviens, ô nuit mystérieuse Il risveglio dai sogni La tua immagine rendeva incanto il sonno In cui sognavo la gioia, l'ardente miraggio. Avevi gli occhi più dolci e la voce pura e risonante, Raggiavi come un cielo illuminato dall'aurora. Mi chiamavi ed io lasciavo la terra Per fuggire con te verso la luce. I cieli aprivano spiragli tra le nuvole per noi: Splendori ignoti, divini bagliori intravisti... Qual dolore m'arreca il triste risveglio dai sogni. Oh, notte, io t'invoco: restituiscimi le tue illusioni. Torna, torna radiosa, Oh, notte misteriosa, torna.
Quelle voix extraordinaire! Le phrasé est superbe, malgré quelques petites fautes de diction. La langue française est capricieuse. Mais le tout est admirable!
Everyone is entitled to have an opinion and ok, he does not sing it in the traditional French "style" nor is his French without flaws but My God does he sing it beautifully!! and for that I can forgive everything else!
Nice neapolitan song ! hi hi... Jerry Hadley has of course au nice voice, very brilliant (this is not the problem), and even musicality (but for italian verism)... but we are not in broadway ! ...he is totally out of mind here ! It is obvious that he doesn't understand anything nor about the poem, nor about the music of Fauré... First, his french prononciation is wrong (mistakes) and horrible (no style nor charm, and ugly vowels)... Secondly, one should sing this melody with no "puccinian" rubato (and especially in "après un rêve" !). Especially, one should sing the triplet in rythm, to make stand out, feeling, the 3 for 2 (part of the nostalgy). And you shouldn't take time before changing of carure (musical group of bars) : on the contrary, decrescendo (but very sostenuto !), imperceptible halt maybe, and then toggle, deliver, in the next carure. Generally, the legato of italian singing is insufficient in French melody (yes!) : you have to fulfill "to death" each note, tight and close every thing (while keeping souple and natural). That's the point ! We also need a noble feeling in Fauré (sorry, but, it all deals with "the lost time of greatness", without what it has no sense !), and Hadley gives popular feeling. He does't understand that it happens in French melody on an other degree... he should sing this piece, stoping to walk by feet, and rather like riding a horse... or sailing on little boat on the ocean... we need this imperceptible "moving", waving, this kind of light "drunkenness", which of course is not writen, but implied in this repertoire (according the general noble flippancy, or weariness "end of century", distraught, nostalgy of the piece). It's needed, to incarnate the true dimension of this music, and human sentiment behind. ...The pianist has good will, with contained firmness (but, no rubato also !).
he is not French, why should he have perfect French diction? that's would be a little put on, that's just my opinion. But I understand your point and I agree- his big voice sounds strange with this French melodie.
@@victoriamydlarz7394 a professional singer who wants to record Faure should strive for perfect French diction or perhaps settle for Faure's Pavane (Vocalise). Inadequate diction in classical music is a lack of training not a style choice.
Critics…. critics…. critics… crick… crick… crick…. When a singer sings Mélodie or Lied with a full voice, frustrated academics start to vomit their boring innuendo. I bet Fauré himself would have loved this wonderful rendition of his work. “Experts” have a problem with proper voices and they prefer Bostridges or Diskaus ( Mice 🐁) rather than proper voices. Always the same story 🤦🏻♂️. This is probably the most exciting rendition of « Après un rêve » that I have ever heard. Hadley was an amazing artist in every sense of the word.
@@tecnicaantica Yes I rather agree, Fauré would have loved it. Some academics belong in the 'eunuchs and spinsters' section of Aldous Huxley's picture of the world society (in Brave New World). They would certainly prefer the highly "gekünstelt" singers you mention (and also the fine rendition in that style on UA-cam by Camille Dubois, who sings rather beautifully but like a contortionist). But they are doing something different. I personally prefer people who actually SING! And use the voice God gave them and where their talents lie, rather than litening to a fancy but more artificially produced sound. And if Italian opera comes to mind, well, what's wrong with that? Actually Fauré preferred Charles Panzéra, who made a sound few would seek out today - his version has only been viewed by 10% of the people listening to Jerry Hadley, and that, perhaps, says it all: try it at ua-cam.com/video/Y4OacR4kfmk/v-deo.html
This performance has torn out my heart.
Après un rêve
Dans un sommeil que charmait ton image
Je rêvais le bonheur, ardent mirage;
Tes yeux étaient plus doux, ta voix pure et sonore
Tu rayonnais comme un ciel éclairé par l'aurore;
Tu m'appelais, et je quittais la terre
Pour m'enfuir avec toi vers la lumière;
Les cieux pour nous entr'ouvraient leurs nues;
Splendeurs inconnues, lueurs divines entrevues...
Hélas, hélas, triste réveil des songes!
Je t'apelle, ô nuit, rends-moi tes mensonges;
Reviens, reviens radieuse
Reviens, ô nuit mystérieuse
Il risveglio dai sogni
La tua immagine rendeva incanto il sonno
In cui sognavo la gioia, l'ardente miraggio.
Avevi gli occhi più dolci e la voce pura e risonante,
Raggiavi come un cielo illuminato dall'aurora.
Mi chiamavi ed io lasciavo la terra
Per fuggire con te verso la luce.
I cieli aprivano spiragli tra le nuvole per noi:
Splendori ignoti, divini bagliori intravisti...
Qual dolore m'arreca il triste risveglio dai sogni.
Oh, notte, io t'invoco: restituiscimi le tue illusioni.
Torna, torna radiosa,
Oh, notte misteriosa, torna.
Jerry Hadley is the best 💖
Quelle voix extraordinaire! Le phrasé est superbe, malgré quelques petites fautes de diction. La langue française est capricieuse. Mais le tout est admirable!
The prettiest I've ever heard this piece sung !
That's true! He was in a league all his own
@@RhosynCalypso Why these finest Italy tenors don't record this repertoire? Their golden voice will make great Faure's melodies sparkling!
Шикарное исполнение !!!Браво!!!Очень красивый тембр!
Incroyable. Quelle voix...
Merci pour cet enregistrement!
This is such a majestic recording
Very good
Everyone is entitled to have an opinion and ok, he does not sing it in the traditional French "style" nor is his French without flaws but My God does he sing it beautifully!! and for that I can forgive everything else!
beautiful
Bravo!
Amazing
Allzu früh freiwillig aus dem Leben geschieden
Do you know where this recital took place?
I think the recital was in Washington.
Nice neapolitan song ! hi hi... Jerry Hadley has of course au nice voice, very brilliant (this is not the problem), and even musicality (but for italian verism)... but we are not in broadway ! ...he is totally out of mind here ! It is obvious that he doesn't understand anything nor about the poem, nor about the music of Fauré... First, his french prononciation is wrong (mistakes) and horrible (no style nor charm, and ugly vowels)... Secondly, one should sing this melody with no "puccinian" rubato (and especially in "après un rêve" !). Especially, one should sing the triplet in rythm, to make stand out, feeling, the 3 for 2 (part of the nostalgy). And you shouldn't take time before changing of carure (musical group of bars) : on the contrary, decrescendo (but very sostenuto !), imperceptible halt maybe, and then toggle, deliver, in the next carure. Generally, the legato of italian singing is insufficient in French melody (yes!) : you have to fulfill "to death" each note, tight and close every thing (while keeping souple and natural). That's the point ! We also need a noble feeling in Fauré (sorry, but, it all deals with "the lost time of greatness", without what it has no sense !), and Hadley gives popular feeling. He does't understand that it happens in French melody on an other degree... he should sing this piece, stoping to walk by feet, and rather like riding a horse... or sailing on little boat on the ocean... we need this imperceptible "moving", waving, this kind of light "drunkenness", which of course is not writen, but implied in this repertoire (according the general noble flippancy, or weariness "end of century", distraught, nostalgy of the piece). It's needed, to incarnate the true dimension of this music, and human sentiment behind. ...The pianist has good will, with contained firmness (but, no rubato also !).
he is not French, why should he have perfect French diction? that's would be a little put on, that's just my opinion. But I understand your point and I agree- his big voice sounds strange with this French melodie.
@@victoriamydlarz7394 a professional singer who wants to record Faure should strive for perfect French diction or perhaps settle for Faure's Pavane (Vocalise). Inadequate diction in classical music is a lack of training not a style choice.
Hadley evidently does not sing in the French style, but this performance is exciting and totally original.
Critics…. critics…. critics… crick… crick… crick…. When a singer sings Mélodie or Lied with a full voice, frustrated academics start to vomit their boring innuendo. I bet Fauré himself would have loved this wonderful rendition of his work. “Experts” have a problem with proper voices and they prefer Bostridges or Diskaus ( Mice 🐁) rather than proper voices. Always the same story 🤦🏻♂️. This is probably the most exciting rendition of « Après un rêve » that I have ever heard. Hadley was an amazing artist in every sense of the word.
@@tecnicaantica Yes I rather agree, Fauré would have loved it. Some academics belong in the 'eunuchs and spinsters' section of Aldous Huxley's picture of the world society (in Brave New World). They would certainly prefer the highly "gekünstelt" singers you mention (and also the fine rendition in that style on UA-cam by Camille Dubois, who sings rather beautifully but like a contortionist). But they are doing something different. I personally prefer people who actually SING! And use the voice God gave them and where their talents lie, rather than litening to a fancy but more artificially produced sound. And if Italian opera comes to mind, well, what's wrong with that? Actually Fauré preferred Charles Panzéra, who made a sound few would seek out today - his version has only been viewed by 10% of the people listening to Jerry Hadley, and that, perhaps, says it all: try it at ua-cam.com/video/Y4OacR4kfmk/v-deo.html